Relevant bibliographies by topics / Percussive Sound

Academic literature on the topic 'Percussive Sound'

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Published: 9 March 2023
Last updated: 10 March 2023

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Journal articles on the topic "Percussive Sound"

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Suzuki, Shigeo. "Sound bar type percussive musical instrument." Journal of the Acoustical Society of America 82, no. 3 (September 1987): 1107. http://dx.doi.org/10.1121/1.395320.

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Roper, Daleth F. "Sound bar for percussive musical instrument." Journal of the Acoustical Society of America 94, no. 3 (September 1993): 1753. http://dx.doi.org/10.1121/1.408092.

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Marcel, Frederic E., and Francois J. M. Maume. "Sound‐proofing casing for a pneumatic percussive drill." Journal of the Acoustical Society of America 82, no. 1 (July 1987): 407. http://dx.doi.org/10.1121/1.395479.

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Rao, Adam, Jorge Ruiz, Chen Bao, and Shuvo Roy. "Tabla: A Proof-of-Concept Auscultatory Percussion Device for Low-Cost Pneumonia Detection." Sensors 18, no. 8 (August 16, 2018): 2689. http://dx.doi.org/10.3390/s18082689.

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Pneumonia causes the deaths of over a million people worldwide each year, with most occurring in countries with limited access to expensive but effective diagnostic methods, e.g., chest X-rays. Physical examination, the other major established method of diagnosis, suffers from several drawbacks, most notably low accuracy and high interobserver error. We sought to address this diagnostic gap by developing a proof-of-concept non-invasive device to identify the accumulation of fluid in the lungs (consolidation) characteristic of pneumonia. This device, named Tabla after the percussive instrument of the same name, utilizes the technique of auscultatory percussion; a percussive input sound is sent through the chest and recorded with a digital stethoscope for analysis. Tabla analyzes differences in sound transmission through the chest at audible frequencies as a marker for lung consolidation. This paper presents preliminary data from five pneumonia patients and eight healthy subjects. We demonstrate 92.3% accuracy in distinguishing between healthy subjects and patients with pneumonia after data analysis with a K-nearest neighbors algorithm. This prototype device is low cost and simple to implement and may offer a rapid and inexpensive method for pneumonia diagnosis appropriate for general use and in areas with limited medical infrastructure.
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Foley, Liam, Joseph Schlesinger, and Michael Schutz. "More detectable, less annoying: Temporal variation in amplitude envelope and spectral content improves auditory interface efficacy." Journal of the Acoustical Society of America 151, no. 5 (May 2022): 3189–96. http://dx.doi.org/10.1121/10.0010447.

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Auditory interfaces, such as auditory alarms, are useful tools for human computer interaction. Unfortunately, poor detectability and annoyance inhibit the efficacy of many interface sounds. Here, it is shown in two ways how moving beyond the traditional simplistic temporal structures of normative interface sounds can significantly improve auditory interface efficacy. First, participants rated tones with percussive amplitude envelopes as significantly less annoying than tones with flat amplitude envelopes. Crucially, this annoyance reduction did not come with a detection cost as percussive tones were detected more often than flat tones—particularly, at relatively low listening levels. Second, it was found that reductions in the duration of a tone's harmonics significantly lowered its annoyance without a commensurate reduction in detection. Together, these findings help inform our theoretical understanding of detection and annoyance of sound. In addition, they offer promising original design considerations for auditory interfaces.
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Sawada, Shuichi, and Yoshihiko Murase. "Method for producing sound bar for percussive musical instruments." Journal of the Acoustical Society of America 84, no. 2 (August 1988): 801. http://dx.doi.org/10.1121/1.396715.

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Nirmaladevi J, Aarthi K V, Vasundhara B, Diwaan Chandar C S, and Abinaya G. "REAL TIME SPEECH EMOTION RECOGNITION USING MACHINE LEARNING." international journal of engineering technology and management sciences 6, no. 6 (November 28, 2022): 84–87. http://dx.doi.org/10.46647/ijetms.2022.v06i06.012.

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A speech recognition system, which can detect emotions contained in the dataset such as sad, happy, neural, angry, disgust, surprised, fearful and calm expressions. In real time we can use this application in various decisions. Although we are in a pandemic situation all processes are taking place only through online like job interviews, doctor appointments etc. In these cases this application is very useful whether in what state they are and to detect their emotions through speech. Here we are using a library called Librosa. Librosa is a python package for music and audio analysis. It provides the building blocks necessary to concoct music information retrieval systems. It was developed by Brian McFee, assistant professor of music technology and data science at NYU, and creator of Librosa, a python package for music and audio analysis. Librosa upholds a few elements connected with sound records handling and extraction like burden sound from a circle, register of different spectrogram portrayals, symphonious percussive source detachment, conventional spectrogram decay, stacks and translates the sound, Timespace sound handling, successive demonstrating, coordinating consonant percussive partition, beatsimultaneous and some more.
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Vizcaino Arevalo, Diego Fabian, and Olga Lucia Castiblanco Abril. "Reproduction of the acoustic effect of the Kukulkan pyramid by delay effect in DAW." Physics Education 57, no. 6 (August 8, 2022): 065001. http://dx.doi.org/10.1088/1361-6552/ac8519.

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Abstract The Mayan city of Chichen Itza is full of legends and mysticism. There, in the temple of Kukulkan, in front of a great pyramid with 91 central staircases, an interesting physical-acoustic phenomenon occurs that has fed mythical stories attributed to the Mayas. When clapping your hands in front of the steps, the echo sounds very different from the sound emitted: The echo presents a ‘tonality’ that resembles a kind of bird chirping (chirp) which is said to be the response of the Quetzal, sacred bird of the Mayas. Earlier work has discussed the convolution method to find a simulation of the spectrum of the echo sound captured at Kukulkan. In this article we are going to present an analysis of the reflected sound using the wave superposition method, and thus obtain a sound with musical ‘Pitch’ as a result of the superposition of multiple reflections of a percussive sound, using the AUDACITY audio software, as demonstrated in the supplementary material.
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Armus, Harvard L., and Karen Anita Isham. "Effect of Thirst on the Acoustic Startle Reflex." Psychological Reports 56, no. 1 (February 1985): 88–90. http://dx.doi.org/10.2466/pr0.1985.56.1.88.

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Eight rats were tested for acoustic startle, using a within-subjects design, while they were under either 0 or 21 hr. water deprivation. The startle stimulus was a percussive, non-tonal sound. No significant effect of thirst on startle was found.
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Steenbock, Daniel A. "Apparatus for modifying the percussive sound emanating from a drum." Journal of the Acoustical Society of America 98, no. 4 (October 1995): 1837. http://dx.doi.org/10.1121/1.413365.

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Dissertations / Theses on the topic "Percussive Sound"

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Presti, G. "SIGNAL TRANSFORMATIONS FOR IMPROVING INFORMATION REPRESENTATION, FEATURE EXTRACTION AND SOURCE SEPARATION." Doctoral thesis, Università degli Studi di Milano, 2017. http://hdl.handle.net/2434/470676.

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Questa tesi riguarda nuovi metodi di rappresentazione del segnale nel dominio tempo-frequenza, tali da mostrare le informazioni ricercate come dimensioni esplicite di un nuovo spazio. In particolare due trasformate sono introdotte: lo Spazio di Miscelazione Bivariato (Bivariate Mixture Space) e il Campo della Struttura Spettro-Temporale (Spectro-Temporal Structure-Field). La prima trasformata mira a evidenziare le componenti latenti di un segnale bivariato basandosi sul comportamento di ogni componente frequenziale (ad esempio a fini di separazione delle sorgenti); la seconda trasformata mira invece all'incapsulamento di informazioni relative al vicinato di un punto in R^2 in un vettore associato al punto stesso, tale da descrivere alcune proprietà topologiche della funzione di partenza. Nel dominio dell'elaborazione digitale del segnale audio, il Bivariate Mixture Space può essere interpretato come un modo di investigare lo spazio stereofonico per operazioni di separazione delle sorgenti o di estrazione di informazioni, mentre lo Spectro-Temporal Structure-Field può essere usato per ispezionare lo spazio spettro-temporale (segregare suoni percussivi da suoni intonati o tracciae modulazioni di frequenza). Queste trasformate sono studiate e testate anche in relazione allo stato del'arte in campi come la separazione delle sorgenti, l'estrazione di informazioni e la visualizzazione dei dati. Nel campo dell'informatica applicata al suono, queste tecniche mirano al miglioramento della rappresentazione del segnale nel dominio tempo-frequenza, in modo tale da rendere possibile l'esplorazione dello spettro anche in spazi alternativi, quali il panorama stereofonico o una dimensione virtuale che separa gli aspetti percussivi da quelli intonati.
This thesis is about new methods of signal representation in time-frequency domain, so that required information is rendered as explicit dimensions in a new space. In particular two transformations are presented: Bivariate Mixture Space and Spectro-Temporal Structure-Field. The former transform aims at highlighting latent components of a bivariate signal based on the behaviour of each frequency base (e.g. for source separation purposes), whereas the latter aims at folding neighbourhood information of each point of a R^2 function into a vector, so as to describe some topological properties of the function. In the audio signal processing domain, the Bivariate Mixture Space can be interpreted as a way to investigate the stereophonic space for source separation and Music Information Retrieval tasks, whereas the Spectro-Temporal Structure-Field can be used to inspect spectro-temporal dimension (segregate pitched vs. percussive sounds or track pitch modulations). These transformations are investigated and tested against state-of-the-art techniques in fields such as source separation, information retrieval and data visualization. In the field of sound and music computing, these techniques aim at improving the frequency domain representation of signals such that the exploration of the spectrum can be achieved also in alternative spaces like the stereophonic panorama or a virtual percussive vs. pitched dimension.
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Upton, Hamish Philip. "Exploring the Use of Laptop-Based Sound Technology to Enhance Percussion Performance." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/366526.

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The combination of percussion and electronic sound provides new possibilities, growing with ever changing and advancing technological capabilities of human interfaces with computers. The purpose of the research is to broaden my performance capability using digital sound technology. My knowledge and experience of this technology will be expanded through preparing works that incorporate it within live performance. This research aims to provide useful insights to other percussionists seeking to develop their abilities through approaching and performing works for percussion and electronics.
Thesis (Masters)
Master of Music Research (MMusRes)
Queensland Conservatorium
Arts, Education and Law
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Torin, Alberto. "Percussion instrument modelling in 3D : sound synthesis through time domain numerical simulation." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/31029.

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This work is concerned with the numerical simulation of percussion instruments based on physical principles. Three novel modular environments for sound synthesis are presented: a system composed of various plates vibrating under nonlinear conditions, a model for a nonlinear double membrane drum and a snare drum. All are embedded in a 3D acoustic environment. The approach adopted is based on the finite difference method, and extends recent results in the field. Starting from simple models, the modular instruments can be created by combining different components in order to obtain virtual environments with increasing complexity. The resulting numerical codes can be used by composers and musicians to create music by specifying the parameters and a score for the systems. Stability is a major concern in numerical simulation. In this work, energy techniques are employed in order to guarantee the stability of the numerical schemes for the virtual instruments, by imposing suitable coupling conditions between the various components of the system. Before presenting the virtual instruments, the various components are individually analysed. Plates are the main elements of the multiple plate system, and they represent the first approximation to the simulation of gongs and cymbals. Similarly to plates, membranes are important in the simulation of drums. Linear and nonlinear plate/membrane vibration is thus the starting point of this work. An important aspect of percussion instruments is the modelling of collisions. A novel approach based on penalty methods is adopted here to describe lumped collisions with a mallet and distributed collisions with a string in the case of a membrane. Another point discussed in the present work is the coupling between 2D structures like plates and membranes with the 3D acoustic field, in order to obtain an integrated system. It is demonstrated how the air coupling can be implemented when nonlinearities and collisions are present. Finally, some attention is devoted to the experimental validation of the numerical simulation in the case of tom tom drums. Preliminary results comparing different types of nonlinear models for membrane vibration are presented.
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Budón, Osvaldo 1965. "Territorios : for percussion ensemble and digital sounds on tape." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23969.

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Territorios is a 15-minute composition for eight percussionists and prerecorded sounds on digital tape. The composer chose this particular instrumentation because of his conviction that percussion and electronic/digital instruments are the most powerful sources of fresh and innovative sound matter that have appeared during this century. This choice also allowed him to challenge the development of a new and consistent rhythmic syntax derived from the internal structure of percussion instruments, which in turn made it possible to establish solid ties between the sound itself and the musical syntax that rules its organization.
Since different tempi are often used simultaneously in Territorios, the performance of the piece requires a set of computer-generated click-tracks carrying individual pulse lines; hearing these pulses through headphones, the performers are able to play the piece in precise tempo.
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Bouënard, Alexandre. "Synthesis of Music Performances: Virtual Character Animation as a Controller of Sound Synthesis." Phd thesis, Université de Bretagne Sud, 2009. http://tel.archives-ouvertes.fr/tel-00497292.

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Ces dernières années ont vu l'émergence de nom- breuses interfaces musicales ayant pour objectif principal d'offrir de nouvelles expériences instru- mentales. La spécification de telles interfaces met généralement en avant l'expertise des musiciens à appréhender des données sensorielles multiples et hétérogènes (visuelles, sonores et tactiles). Ces interfaces mettent ainsi en jeu le traitement de ces différentes données pour la conception de nouveaux modes d'interaction. Cette thèse s'intéresse plus spécifiquement à l'analyse, la modélisation ainsi que la synthèse de situations in- strumentales de percussion. Nous proposons ainsi un système permettant de synthétiser les retours vi- suel et sonore de performances de percussion, dans lesquelles un percussionniste virtuel contrôle des pro- cessus de synthèse sonore. L'étape d'analyse montre l'importance du contrôle de l'extrémité de la mailloche par des percussionnistes ex- perts jouant de la timbale. Cette analyse nécessite la capture préalable des gestes instrumentaux de dif- férents percussionnistes. Elle conduit à l'extraction de paramètres à partir des trajectoires extremité capturées pour diverses variations de jeu. Ces paramètres sont quantitativement évalués par leur capacité à représen- ter ces variations. Le système de synthèse proposé dans ce travail met en oeuvre l'animation physique d'un percussionniste virtuel capable de contrôler des processus de synthèse sonore. L'animation physique met en jeu un nouveau mode de contrôle du modèle physique par la seule spé- cification de la trajectoire extrémité de la mailloche. Ce mode de contrôle est particulièrement pertinent au re- gard de l'importance du contrôle de la mailloche mis en évidence dans l'analyse précédente. L'approche physique adoptée est de plus utilisée pour permettre l'interaction du percussionniste virtuel avec un modèle physique de timbale. En dernier lieu, le système proposé est utilisé dans une perspective de composition musicale. La con- struction de nouvelles situations instrumentales de percussion est réalisée grâce à la mise en oeuvre de partitions gestuelles. Celles-ci sont obtenues par l'assemblage et l'articulation d'unités gestuelles canoniques disponibles dans les données capturées. Cette approche est appliquée à la composition et la synthèse d'exercices de percussion, et evaluée qualitativement par un professeur de percussion.
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Oro, George. "Transcending the Darbuka." Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2669.

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Doholla or Darbuka is a traditional Arab percussion instrument with a specific restricted secondary role. My project aims to challenge this role and expand the possibilities and horizons of this instrument by using it as a solo instrument breaking the norms and expectations ruling the instrument. My research focuses on answering the following question: can I present this instrument as a solo or main instrument? I used different methods to experiment with the instrument, including but not limited to, exploring sounds on parts of the instrument’s body that were not used before to create new sounds, or switching the classical loop role of the instrument with a new more varied one. In addition to using techniques that are from different cultures and others that are specific to other percussion instruments in general. As a result, I came to find a wide collection of new sounds that can be used in different contexts, which can be utilized in composing vibrant compositions. I was also able to compose and perform solo compositions with doholla/ darbuka that are written specifically to present the instrument’s richness as well as compositions where doholla had the main changing part while another melodic instrument was providing the background loop role. And finally I managed to prove that this instrument could exist successfully outside its traditionally known boundaries.

George Oro: Darboka, Doholla

Jiro Kevork: Drums

Liliana Zavala: Conga

Mårten Hillbom: Drums

Composition 6; Composition 9; Dueto; Longa Nahawand; Solo; Trio; ss;Two Darboka

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Hartman, Nathaniel. "Examining Sonic Relationships in a Visual Context." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1339115456.

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Huang, Chia-Hsien, and 黃家賢. "Investigation on Percussion Sound Analysis and Sound Quality Evaluation for Metal Plate." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/63333246004939262664.

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碩士
國立屏東科技大學
機械工程系所
104
There are many types of percussion instruments that can be categorized as the tuned and un-tuned; however, there is no proper sound quality evaluation method to quantify percussion instruments. This work aims to perform vibro-acoustic analysis on the harmonic sound plate (HSP) developed by adopting structural vibration analysis and optimum design method. The percussion sound spectrum from HSP can then be predicted and used to obtain objective evaluation index that will be compared with subjective evaluation. The evaluation methodology can also be adopted for other percussion instrument as well. This work applies finite element analysis (FEA) to determine structural vibration modes of HSP as well as the air-structure coupling modes. Both structural vibration modes and air-structure acoustic modes can be, respectively, interpreted. Through literature reviews on various musical sound quality evaluations for different musical instruments, this work builds up the objective evaluation indices, in particular for percussion instruments, such as pitch frequency, tonality, continuity and spectrum centroid. Sound simulation program module is developed to generate the sound response with the knowledge of sound spectrum information. The subjective evaluation is conducted by human ears to validate the effectiveness of the program module. Finally, by the integration of sound measurement and sound simulation program modules, the correlation between the subjective and objective evaluation results can be justified and applied to different percussion instruments.
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Joy, Rosemary. "The Appearance of Sound: Listening to Sculptural Percussion." Thesis, 2015. https://vuir.vu.edu.au/33030/.

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This practice-led research inquiry explores the field of ‘Sculptural Percussion’ as defined in a series of works created by Rosemary Joy between 2008-2014. Taking the form of a performance and an accompanying exegesis, the research investigates sculptural percussion as a means of creating subtle and transformative effects on the musician and the audience. Performed by percussionists on sculptures that primarily comprise handmade elements and found objects, the works are mostly performed in front of a deliberately small audience. The research explores a number of artistic strategies, which together encourage a sense of intimacy and connection between audience, musician and sculpture in the performance of sculptural percussion. Informed by perspectives drawn from phenomenology, relational aesthetics and contemporary sound theory, the exegesis details key aspects of Joy’s sculptural percussion works including the scale of audience and sculpture, the proximity of the audience to the musician, ideas around site specificity and the interaction of visual and aural perception to create a focussed listening experience. The historical and theoretical context of the work is examined through discussion of Fluxus experiments with performance; Cage’s broadening of the possibilities of contemporary music and R. Murray Schafer’s ‘ear cleaning’. In defining the terms ‘sculptural percussion’ and ‘percussive sculptures’ the work is situated in relation to the fields of both sound art and percussion. Part of a discernible trend towards deliberately small audiences, the research contributes to the understanding of performance events that make sculpture central to the creation of music. The research makes a particular contribution to the field of percussion, where the possibilities of audience proximity and sculpture have not been thoroughly investigated. The relative weighting of the components of the thesis is as follows: 70% creative component; 30% exegesis.
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Banks, Rusty Kubík Ladislav. "Jasper chamber music for vocalise, percussion, violoncello and sound file /." Diss., 2003. http://etd.lib.fsu.edu/theses/available/etd-09172003-160832/.

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Thesis (M.M.) -- Florida State University, 2003.
Advisor: Ladislav Kubik, Florida State University, School of Music. Title and description from thesis home page (viewed 9-27-04). Document formatted into pages; contains 31 pages. Includes biographical sketch.
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Books on the topic "Percussive Sound"

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Sound effects. Mankato, Minn: Smart Apple Media, 2000.

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Zucker, David. Found sounds Bahia. [California?]: Artist of Life Music & Films, 2006.

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Instant Sound Forge. San Francisco, CA: CMP Books, 2004.

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Armenteros, Izzy. The sound of wood: A history of the hardwood drum and how to play it. Coral Gables, FL (P.O. Box 140446, Coral Gables 33136): Reen Enterprises, 1994.

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Dennis, Moody, ed. The drum recording handbook. New York: Hal Leonard Books, 2009.

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Fredric, Lieberman, ed. Spirit into sound: The magic of music. [Petaluma, Calif.]: Grateful Dead Books, 1999.

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Getz, Stan. Serenity. [New York]: EmArcy, 1991.

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Using Soundtrack: Produce original music for video, DVD, and multimedia. San Francisco, Calif: CMP Books, 2004.

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Sound Effects. Pavilion Books, 2000.

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Walker, Elsie. Code Unknown. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190495909.003.0005.

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This chapter analyzes Code Unknown from a postcolonial perspective, with particular emphases on multiethnic voices, disempowered sonic presences, and cross-cultural possibilities of communication in the context of racial politics in contemporary France. The analysis considers how the sound track amplifies diverse characters’ choices to hear or not to hear, along with providing patterns and resonances that invite us to make interpretive leaps beyond the characters’ individual capabilities. Code Unknown reminds us how much our efforts to communicate matter, especially through the multiethnic, deaf-mute children who bookend the film with their extended efforts to physically “speak.” By contrast, many hearing-speaking adults of the film fail to speak or listen with patience, good will, or moral kindness, and sometimes with awful consequences. After considering many sonic moments of social discordance through the film, this chapter dwells on the tentative hope of those scenes in which the deaf-mute children create percussive music together.
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Book chapters on the topic "Percussive Sound"

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Ono, Nobutaka, Kenichi Miyamoto, Hirokazu Kameoka, Jonathan Le Roux, Yuuki Uchiyama, Emiru Tsunoo, Takuya Nishimoto, and Shigeki Sagayama. "Harmonic and Percussive Sound Separation and Its Application to MIR-Related Tasks." In Advances in Music Information Retrieval, 213–36. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-11674-2_10.

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Moravcsik, Michael J. "Percussion Instruments." In Musical Sound, 187–96. Boston, MA: Springer US, 2002. http://dx.doi.org/10.1007/978-1-4615-0577-8_13.

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Eargle, John M. "Acoustics of Percussion Instruments." In Music, Sound, and Technology, 147–62. Boston, MA: Springer US, 1995. http://dx.doi.org/10.1007/978-1-4757-5936-5_8.

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Eargle, John M. "Acoustics of Percussion Instruments." In Music, Sound, and Technology, 140–50. Dordrecht: Springer Netherlands, 1990. http://dx.doi.org/10.1007/978-94-011-7070-3_8.

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Bucur, Voichita. "About the Sound of Percussion Instruments." In Handbook of Materials for Percussion Musical Instruments, 103–87. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-98650-6_3.

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Bucur, Voichita. "Struck Idiophones Played with Mallets: Gongs, Cymbals, Chimes, Sound Plates, Triangle." In Handbook of Materials for Percussion Musical Instruments, 401–81. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-98650-6_8.

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Rocha, Fernando, and Eli Stine. "Estilhaço 1 and 2: Conversations Between Sound and Image in the Context of a Solo Percussion Concert." In Bridging People and Sound, 247–55. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-67738-5_15.

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Wartner-Attarzadeh, Talieh. "Suffering Bodies, Relieved Souls." In Musik und Klangkultur, 187–206. Bielefeld, Germany: transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839458914-013.

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Laṭmiyeh is a commemorative Shia women ritual, which is practiced by Iranian-Arab-Shia women from the southwestern- Iranian province of Khuzestan. This mourning ritual is combined with metrical singing, body movements and self-flagellation. Despite its sad lyrics and context, laṭmiyeh has an energetic sound atmosphere, one that resembles joyful celebrations from the region. Powerful flagellations in this vocal performance replace percussion and strengthen the rhythmic ambience of the songs, even though they are unpleasant and painful acts for their practitioners. This article investigates the sonic elements and the body role in laṭmiyeh in the twenty-first century Khorramshahr, Iran.
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Brennan, Matt. "Noisy drummers, ragtime, jazz, and the avant-garde." In Kick It, 55–104. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190683863.003.0003.

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This chapter examines the early drum kit and how it challenged preconceptions about the relationship between noise and music. First, it explores the development of ragtime music. Second, it examines the negative impact of the early music scholarship on the status of the drum kit and drummers. Third, it discusses the profession of trap drummers and their role in performing sound effects for silent film. Fourth, it discusses the challenges facing women who wished to become professional drummers, the association between percussive noise and immigrant cultures, the influence of Chinese instruments on the early drum kit, and the origins of Tin Pan Alley. Fifth, it examines the role of the drum kit in the birth of jazz. Sixth, it explores the drum kit and drummers in 1920s recording studios. Finally, it examines the influence of the drum kit and other percussion instruments in classical music.
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Hagberg, Garry L. "The Life of Rhythm." In The Philosophy of Rhythm, 101–9. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199347773.003.0007.

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Chapter 6 poses the question: Why does rhythm speak to us so deeply? Patterns of accented or percussive sound that move us are meaningful, yet we find it hard to say what associations or connotations create that meaning. It argues that John Dewey’s Art as Experience has deep insights on this question, and focuses on their implications for jazz improvisation. For Dewey, both player and listener are like the live organism interacting within its environment. Hagberg addresses Dewey’s understanding that “rhythm is a universal scheme of existence, underlying all realization of order in change, [that] pervades all the arts, literary, musical, plastic and architectural, as well as the dance”; that “The supposition that the interest in rhythm which dominates the fine arts can be explained simply on the basis of rhythmic processes in the living body is but another case of the separation of organism from environment.”
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Conference papers on the topic "Percussive Sound"

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Fink, Alex, and Andreas Spanias. "Constrained estimation of percussive sound excitations." In 2011 IEEE Workshop on Applications of Signal Processing to Audio and Acoustics (WASPAA). IEEE, 2011. http://dx.doi.org/10.1109/aspaa.2011.6082338.

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de Lima Aguiar, Rafael, Yandre Maldonado e Gomes da Costa, and Loris Nanni. "Music genre recognition using spectrograms with harmonic-percussive sound separation." In 2016 35th International Conference of the Chilean Computer Science Society (SCCC). IEEE, 2016. http://dx.doi.org/10.1109/sccc.2016.7836027.

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Fug, Richard, Andreas Niedermeier, Jonathan Driedger, Sascha Disch, and Meinard Muller. "Harmonic-percussive-residual sound separation using the structure tensor on spectrograms." In 2016 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2016. http://dx.doi.org/10.1109/icassp.2016.7471714.

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Akaishi, Natsuki, Kohei Yatabe, and Yasuhiro Oikawa. "Harmonic and Percussive Sound Separation Based on Mixed Partial Derivative of Phase Spectrogram." In ICASSP 2022 - 2022 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2022. http://dx.doi.org/10.1109/icassp43922.2022.9747057.

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Tachibana, Hideyuki, Hirokazu Kameoka, Nobutaka Ono, and Shigeki Sagayama. "Comparative evaluations of various harmonic/percussive sound separation algorithms based on anisotropic continuity of spectrogram." In ICASSP 2012 - 2012 IEEE International Conference on Acoustics, Speech and Signal Processing. IEEE, 2012. http://dx.doi.org/10.1109/icassp.2012.6287917.

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Lentz, Benjamin, Anil Nagathil, Johannes Gauer, and Rainer Martin. "Harmonic/Percussive Sound Separation and Spectral Complexity Reduction of Music Signals for Cochlear Implant Listeners." In ICASSP 2020 - 2020 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2020. http://dx.doi.org/10.1109/icassp40776.2020.9052920.

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Wyse, Lonce, Ye Wang, and Xinglei Zhu. "Application of a content-based percussive sound synthesizer to packet loss recovery in music streaming." In the eleventh ACM international conference. New York, New York, USA: ACM Press, 2003. http://dx.doi.org/10.1145/957013.957085.

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Freire, Sérgio, José Henrique Padovani, and Caio Campos. "Real-time Qualification of Percussive Sounds Based on Correspondences Between Schaeffer’s Solfège and Low-level Audio Descriptors." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19429.

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Pierre Schaeffers typomorphology (1966) proposes seven criteria of musical perception for the qualification of sound objects, which form the basis of his musical theory. This Solfège fits well into contexts where pitch is not the dominant dimension. Relying on similarities between the practice of reduced listening and the utilization of low-level audio descriptors, we present the first version of a real-time setup in which these descriptors are applied to qualify percussive sounds. The paper describes the tools and strategies used for addressing different criteria: envelope followers with different window sizes and filtering; detection of transients and amplitude modulations; extraction and counting of spectral components; estimation of intrinsic dissonance and spectral distribution; among others. The extracted data is subjected to simple statistical analysis, producing scalar values associated with each segmented object. Finally, we present a variety of examples.
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Oyabu, Soichiro, Daichi Kitamura, and Kohei Yatabe. "Linear Multichannel Blind Source Separation based on Time-Frequency Mask Obtained by Harmonic/Percussive Sound Separation." In ICASSP 2021 - 2021 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2021. http://dx.doi.org/10.1109/icassp39728.2021.9413494.

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Ji, Zhaosheng. "Numerical Analyses of the Granite Fragmentation in Rotary-Percussive Drilling with the Consideration of Pre-Existing Cracks." In 56th U.S. Rock Mechanics/Geomechanics Symposium. ARMA, 2022. http://dx.doi.org/10.56952/arma-2022-0874.

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ABSTRACT: Rotary-percussive drilling technique is an efficient rock-breaking method and can be applied in geothermal drilling. The rock’s fragmentation mechanism was investigated using the distinct element method with the consideration of pre-existing cracks. We developed a cutter-rock interaction model to simulate the rotary-percussive drilling. In this model, a discrete fracture network (DFN) was used to reflect the rock’s complex behavior. Bonded Block Model (BBM) was used to simulate cracks initiation that can merge and propagate to fracture the rock. As a dynamic problem, the rock’s damping effect was introduced into our model by fitting it to the laboratory tests. Results represented the rock’s fragmentation process under the cutter indentation and the coupling of impact load and lateral movement well. The pre-existing cracks can significantly enhance the drilling speed, which demonstrates the significance of considering the rock’s non-continuous nature. Raising dynamic impact load is good for improving the penetration results in our study. For the back rake angle, 50° is the best choice in the evaluated range. But the cutter with the back rake angle of 20° obtains the highest fragmentation volume and lowest specific energy under the coupling of impact load and lateral velocity. This paper’s research is of great significance to guide the application of rotary-percussive drilling and reduce the cost of developing geothermal resources. 1. INTRODUCTION The geothermal resource is increasingly valued as a clean, secure, alternative energy (Liu et al., 2011; Tester et al., 2007; York, 2012; Zhang et al., 2018). Its development requires drilling a lot of wells deep into the target formations, which accounts for 30% to 50% of the cost of the hydrothermal geothermal electricity project and more than half of the total cost of enhanced geothermal systems (EGS) (Glowka, 1997; Yost et al., 2015). It is necessary to develop an efficient drilling method to reduce the time and cost (Miyazaki et al., 2019). Rotary-percussive drilling (RPD) is an efficient method of making holes in hard rocks and is well-suited for geothermal drilling (Finger and Blankenship, 2010; Lundberg and Okrouhlik, 2006). It can provide economic benefits for reducing drilling time and drilling cost by combing rotary drilling and percussive drilling (Patil and Teodoriu, 2013; Peng et al., 2018; Zhong, 2016). In this drilling method, the impactor and upper string’s impact load is imposed on the conventional rotary bit to penetrate and crush the rock (Chiang and Elias, 2008). A sound understanding of bit-rock interaction and rock fragmentation mechanisms under the impact load and rotary movement is essential to design down-hole tools, such as drill bit and impactor, and optimize the drilling parameters.
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